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"Crumpling a thin sheet produces a characteristic sound, comprised of distinct clicking sounds corresponding to buckling events. We propose a physically based algorithm that automatically synthesizes crumpling sounds for a given thin shell animation. The resulting sound is a superposition of individually synthesized clicking sounds corresponding to visually significant and insignificant buckling events. We identify visually signifi- cant buckling events on the dynamically evolving thin surface mesh, and instantiate visually insignificant buckling events via a stochastic model that seeks to mimic the power-law distribution of buckling energies observed in many materials. In either case, the synthesis of a buckling sound employs linear modal analysis of the deformed thin shell. Because different buckling events in general occur at different deformed configurations, the question arises whether the calculation of linear modes can be reused. We amortize the cost of the linear modal analysis by dynamically partitioning the mesh into nearly rigid pieces: the modal analysis of a rigidly moving piece is retained over time, and the modal analysis of the assembly is obtained via Component Mode Synthesis (CMS). We illustrate our approach through a series of examples and a perceptual user study, demonstrating the utility of the sound synthesis method in producing realistic sounds at practical computation times."

"As in sacred music in the West, Tibetan music has complex systems of musical notation and a long history of written religious song. "A vital component of Tibetan Buddhist experience," explains Google Arts & Cultures Buddhist Digital Resource Center, "musical notation allows for the transference of sacred sound and ceremony across generations. A means to memorize sacred text, express devotion, ward off feral spirts, and invoke deities.""

"Bodyscape is inspired by the body of a dancer as sonic source. The information is taken via biosensors and microphones, which record movements and events generated by the body. In this ecosystem, the dancer produces sounds, mainly inaudible, which are then amplified and send back to the performance space, where the dancer interact with them as biofeedback. The site-specificity of the work relates to the spatial considerations and resonances. Field recordings were collected at the border of Botswana and South Africa. L'épidemie virale en Afrique du Sud, a text from the Swiss writer Friedrich Dürrenmatt, informed the journey. The text describes a virus transforming white persons into black persons. A text about privileges."

"Spectroscapes explore music as physical models that are generated from the signal strength of frequencies present in the waveform of an individual song."

"This is a zine on sound weaponry use by police. It offers tips on scene assessment and readiness for exposure to the Long Range Acoustic Device (LRAD) at public demonstrations. It also offers some history on police sound and a little bit of info about general acoustic trauma."

"Scattered sound establishes short-range attractions between small particles, while detuning the acoustic trap generates active fluctuations. "

a nomadic space designed to host invisible works. It produces, presents and collects recent or unpublished sound works by contemporary artists from different backgrounds, geographies and generations.

"Ugnayan consists of twenty separate 51-minute tracks, each to be played back on a different radio station. The idea was then to have everyone in Manila tune in to a different radio station so that all of the tracks would play back simultaneously, each from a different source. This is a stereo mix of the original tracks, recorded by Maceda and a small group in 1973, using mostly traditional Philippine instruments. Masses of layered percussion and wind sounds build up in short passages and are supplanted by new ones. There's an abundance of bamboo sound, either struck or blown, and a lot of harmonic information happening. This piece (and Maceda's work in general) is important because it attempts to bring together elements of traditional folk music and "avant-garde" composition, and they do it in the public arena. These are not just dusty academic endeavors, they were and are lively examples of other ways that music and sound can be integrated into everyday life. -Jeph Jerman, squidsear"

"Today a growing group of sonic artists engage with plants as collaborators in their processes and creations. The duo Feral Practice invites audience members to sound walks in forests to reflect on ecological and social issues in the vicinity of trees. Sound artist Mileece senses signals from plants to develop sound-generating algorithms that she combines with field recordings to design immersive sound installations, a technology akin to the one used by Tosca Terán to detect activity in mycorrhizal systems which she converts into musical notes. Cristina Ochoa and Eduardo Vindiola read signalling activity in beets and modulate their rhythmic patterns to perform with them. Leslie Garcia studies plant communication to design prosthetic devices that simulate an abstract voice for plants through a process of biofeedback."

"Fermentophone is a multi-sensory installation in which an algorithmically generated musical composition is performed by living cultures of bacteria and yeast. The installation comprises a series of different vessels containing actively fermenting foodstuffs and beverages, which are wired with electronic sensors. Each colorful, odorous, and edible ferment has its own musical vocabulary which is expressed according to microbial activity.( The installation was presented at the Hacking Arts festival at the MIT Media Lab."

"Cornelius Cardew was a fascinating figure. Both in his life, and through his music, he posed questions with which I find myself in equal sympathy and conflict. He is undeniably one of the most important figures in the Post-War British avant-garde. Cardew, by all accounts, was a prodigy. During his early twenties he worked at the highest levels of performance. In 1958 (age 22) he won a scholarship to study at the Studio for Electronic Music in Cologne, and was promptly asked by Karlheinz Stockhausen to serve as his assistant. Stockhausen's recollections of Cardew are drenched in respect. He was one of the few people whom he allowed to work on his scores unsupervised. During the late 50's, influenced by John Cage and other members of his generation, Cardew abandoned Serialism and began to compose scores utilizing indeterminacy and experiment. It was this period of his work for which he is most remembered, and from which Treatise (our subject) comes. In 1967 he joined the iconic free-improvisation collective AMM with Lou Gare, Eddie Prévost, Keith Rowe and Christopher Hobbs, which advanced his sense of compositional possibility. The following year with Howard Skempton and Michael Parsons he formed the equally important Scratch Orchestra, which grew into a large ensemble, preforming over the following four years."

"In case you haven't been tracking the progress of group exhibitions of sound art, a short history would be: they are generally a disaster, with many works either impossible to hear adequately in the situation or impossible not to hear while you are trying to listen to something else. "It is in sound's nature to be free and uncontrollable and to go through the cracks and to go places where it's not supposed to go," as the sound artist Christian Marclay said, in an interview, in 2005. Meanwhile, the institutions that are devoted to art exhibition-galleries, museums-are all about placing art works where they intend them to stay. "I think it's great that there is this interest in sound and music," Marclay said. "But the over-all art-world structures are not yet ready for that, because sound requires different technology and different architecture to be presented.""

"The tranquil chorus of the natural world is in danger of being lost to today's generation as people screen out the noises that surround them, a senior US researcher warns. Rising levels of background noise in some areas threaten to make people oblivious to the uplifting sounds of birdsong, trickling water, and trees rustling in the wind, which can often be heard even in urban centres, said Kurt Fristrup, a senior scientist at the US National Park Service"

"A modern-day zen garden opened this past Friday, October 1st, at the Fort York Historic Site in Toronto, Canada. Contemporary artist Krista Kim brings her vision of wellness to the world via CONTINUUM: a meditative 20-minute generated animation aimed at improving mental health through active self-care participation. "

"Music From Nowhere 1st exhibition: Generator Sound Art, New York, 1990 In the Music From Nowhere series a variety of loudspeaker cabinets are transformed into acoustic sound-producing devices. The actual speakers are removed from inside the speaker cabinets and the cabinet interiors are refitted with mechanical-acoustic sound-producing systems. All devices are automated so that they work independently for an unlimited length of time. These may be modified water fountains, mechanical vibrators, or logic and motor-driven systems that articulate acoustic sounds. Each system is designed with built-in mechanical variables to produce variation or indeterminacy within the sound, thus helping to create the illusion that one is listening to a recording being broadcast through the given speaker cabinet. Each speaker cabinet has a plexiglas backing so that the viewer can see inside the box. These fake loudspeakers are exhibited together in a room so that a form of 'real' musique concrete is achieved."

Urban sound has a huge influence over how we perceive places. Yet, city planning is concerned mainly with noise, simply because annoying sounds come to the attention of city officials in the form of complaints, while general urban sounds cannot be easily captured at city scale. To capture both unpleasant and pleasant sounds, we propose a new methodology that relies on tagging information of georeferenced pictures. We propose the first urban sound dictionary and compare it to the one produced by collating insights from the literature: ours is experimentally more valid (if correlated with official noise pollution levels) and offers wider geographic coverage. From picture tags, we then study the relationship between soundscapes and emotions. We learn that streets with music sounds are associated with strong emotions of joy or sadness, while those with human sounds are associated with joy or surprise. Finally, we study the relationship between soundscapes and people's perceptions and, in so doing, we are able to map which areas are chaotic, monotonous, calm, and exciting.Those insights promise to inform the creation of restorative experiences in our increasingly urbanized world.

"You might have seen the news last month that two students from George Mason University developed a way to put out fires using sound. "It happens so quickly you almost don't believe it," the Washington Post reported at the time. "Seth Robertson and Viet Tran ignite a fire, snap on their low-rumbling bass frequency generator and extinguish the flames in seconds." "

"The Manhattan Rhythm Machine is an interactive generative beat maker. Loops for each instrument are represented with cut up segments of a circle. These are moved through a two dimensional space of rhythms with axes of edginess and density which are mapped to rhythms through a beat hierarchy derived from how off-beat each position in the bar is."

"I first encountered Guidonian hands as an extension of my interest in graphic scores from the 20th century avant-garde. Beyond their shared use of drawing, and inherent beauty, the two have few conceptual links. Guidonian hands were a medieval mnemonic device (a system of learning aiding retention) designed to assist singers sight-sing (the sung realization of prima vista, or sight-reading). Their development is generally credited to an 11th centruy Italian music theorist named Guido of Arezzo, though the graphic use of the hand as a musical guide long predates the development of his technique. Within a Guidonian hand, each section of the hand indicated a specific note within the hexachord system (six-notes), over three octaves. In the absence of a score, once the graphic hand was memorized by a singer, a conductor would need only point to a series of notes on their hand. They are a fascinating fragment from the development of Western theory, as well as being objects of sublime beauty."

"Fermentophone is a multi-sensory installation in which an algorithmically generated musical composition is performed by living cultures of bacteria and yeast."